01-12-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1998-2003 (2h 36m) >>Portishead, Tindersticks, Sleater-Kinney, St. Germain, Eels, Sparklehorse, Air, King Crimson, Peter Gabriel, Radiohead<<
M U S I C (2h 36m)
if you want excitement PRESS SHUFFLE!
.favtrax_mix on deezer
Portishead may not have invented trip-hop, but they were among the first to popularize it, particularly in America. Taking their cue from the slow, elastic beats that dominated Massive Attack's Blue Lines and adding elements of cool jazz, acid house, and soundtrack music, Portishead created an atmospheric, alluringly dark sound. The group wasn't as avant-garde as Tricky, nor as tied to dance traditions as Massive Attack; instead, it wrote evocative pseudo-cabaret pop songs that subverted their conventional structures with experimental productions and rhythms of trip-hop...
Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations...
Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the '90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band -- prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll...
One of the few producers to pursue a real fusion of jazz and house music, Frenchman Ludovic Navarre began recording in the early '90s using various aliases (Subsystem, Modus Vivendi, Deepside) for a range of French imprints. St. Germain debuted in 1994 for Laurent Garnier's F Communications label and Navarre released his first album, Boulevard, in 1996...
A musical project that weds a rich variety of off-kilter pop influences with deeply personal lyrics often obsessing over the darker sides of human experience, Eels is the rubric used by singer, songwriter, and musician Mark Oliver Everett (aka E) for the music he creates with a rotating group of collaborators. Everett has been the sole constant throughout the Eels' career, making music that's daring and emotionally revealing, sometimes sounding warm and organic, sometimes deliberately discordant and full of noisy textures, but most often rooted in a melodic sense that manages to shine through even when the arrangements turn up the static...
Although its name suggests the presence of a full band, Sparklehorse was essentially the work of singer/songwriter Mark Linkous, an alumnus of the mid-'80s indie band the Dancing Hoods. A tenure in the Johnson Family (later known as Salt Chuck Mary) followed, as did stints sweeping chimneys and painting houses. He began working as Sparklehorse in 1995, honing his spooky, lo-fi roots pop in the studio located on his farm in Bremo Bluff, VA. After a demo made its way to the offices of Capitol Records, Linkous signed to the label and issued Sparklehorse's acclaimed debut, Vivadixiesubmarinetransmissionplot...
Sparklehorse
With a sensual, atmospheric sound inspired by Burt Bacharach and Brian Wilson as well as disco, synthesizer maestros Tomita, Jean-Michel Jarre, and Vangelis, new wave, and obscure Italian film soundtracks, Air may have been outliers in the late-'90s electronica boom, but they became one of the most influential electronic acts of the 2000s and beyond...
If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist...
Radiohead is an English alternative rock band from Abingdon, Oxfordshire, UK which formed in 1985. The band is composed of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar) and Phil Selway (drums, percussion).
2003
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
1998-2003
Portishead may not have invented trip-hop, but they were among the first to popularize it, particularly in America. Taking their cue from the slow, elastic beats that dominated Massive Attack's Blue Lines and adding elements of cool jazz, acid house, and soundtrack music, Portishead created an atmospheric, alluringly dark sound. The group wasn't as avant-garde as Tricky, nor as tied to dance traditions as Massive Attack; instead, it wrote evocative pseudo-cabaret pop songs that subverted their conventional structures with experimental productions and rhythms of trip-hop...
Humming (Geoff Barrow / Beth Gibbons / Adrian Utley) 6:34
Cowboys (Geoff Barrow / Beth Gibbons) 5:01
All Mine (Geoff Barrow / Beth Gibbons / Adrian Utley) 4:02
Mysterons (Geoff Barrow / Beth Gibbons / Adrian Utley) 5:42
from Roseland NYC Live 1998
By the end of the '90s, artists realized that CD and CD-R bootlegs of live performances were in high demand, which meant that they could profit by officially releasing certain "special" live performances. Portishead's one-night stand at New York City's Roseland Ballroom, released as PNYC, certainly qualifies as one of those "special" occasions. Performing with a 35-piece orchestra, Portishead runs through selections from its two albums, favoring its second slightly. On the surface, it doesn't seem like the orchestra would add much to the performances, especially since the arrangements remain similar, but its presence makes the music tense, dramatic, and breathtaking...
Which means, of course, that PNYC is much more compelling and essential than the average live album.
Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations...
Can We Start Again? (Dickon Hinchliffe) 3:53
If You're Looking for a Way Out (Dickon Hinchliffe) 5:06
Pretty Words (Dickon Hinchliffe) 3:18
From the Inside (Tindersticks) 2:54
from Simple Pleasure 1999
With a title like Simple Pleasure and songs like the disarmingly up-tempo opener "Can We Start Again?," at first listen Tindersticks' fourth proper album seems buoyed by a guarded optimism totally absent from previous outings; dig deeper, however, and it's all a come-on -- frontman Stuart Staples still inhabits a netherworld where nothing is ever simple, pleasure is an illusion, and starting again merely means making the same mistakes yet one more time. Nothing truly changes, which has been Tindersticks' point all along, of course -- hopes are still meant to be dashed and hearts still meant to be broken, and Simple Pleasure is neither the time nor the place to begin pretending otherwise. Staples' songs remain the very essence of romantic despair, stunning in their funereal beauty and devastating in their tormented desperation...
Like many a great band, Sleater-Kinney inhabited their time so thoroughly it took an extended hiatus to realize the extent of their legacy. In many respects, they were the defining American indie rock band of the second half of the '90s, the group that harnessed all the upheaval of the alt-rock explosion of the first part of the decade and channeled it into a vigorous mission statement. It was not incidental that Sleater-Kinney were an all-female band -- prior to S-K, co-leaders Corin Tucker and Carrie Brownstein both started playing music in Northern Pacific riot grrrl bands and their feminism and queercore roots were deeply embedded in their rock & roll...
Hot Rock 3:17
God Is a Number 3:43
A Quarter to Three 4:03
from The Hot Rock 1999
Expectations for Sleater-Kinney's fourth album were stratospheric, with the raging, tuneful feminist catharsis of Call the Doctor and Dig Me Out having garnered near-universal critical raves and outlandish media hype. Afraid of falling into a predictable rut, though, the band bravely pushed its range of expression into more personal, subdued, and cerebral territory on The Hot Rock. That means the record isn't quite as immediately satisfying as its two brilliant predecessors, but it does reward those willing to spend time absorbing its nervy introspection and moodiness. Corin Tucker and Carrie Brownstein push relentlessly for more complex interplay, both in their vocal and instrumental work; even the gentlest songs might break into unexpected dissonance or take an angular, off-kilter melodic direction...
One of the few producers to pursue a real fusion of jazz and house music, Frenchman Ludovic Navarre began recording in the early '90s using various aliases (Subsystem, Modus Vivendi, Deepside) for a range of French imprints. St. Germain debuted in 1994 for Laurent Garnier's F Communications label and Navarre released his first album, Boulevard, in 1996...
Rose Rouge (Ludovic Navarre) 6:56
So Flute (Ludovic Navarre) 8:27
Latin Note (Ludovic Navarre) 5:54
from Tourist 2000
Since the advent of acid jazz in the mid-'80s, the many electronic-jazz hybrids to come down the pipe have steadily grown more mature, closer to a balanced fusion that borrows the spontaneity and emphasis on group interaction of classic jazz while still emphasizing the groove and elastic sound of electronic music. For his second album, French producer Ludovic Navarre expanded the possibilities of his template for jazzy house by recruiting a sextet of musicians to solo over his earthy productions... Though it is just another step on the way to a perfect blend of jazz and electronic, Tourist is an excellent one.
A musical project that weds a rich variety of off-kilter pop influences with deeply personal lyrics often obsessing over the darker sides of human experience, Eels is the rubric used by singer, songwriter, and musician Mark Oliver Everett (aka E) for the music he creates with a rotating group of collaborators. Everett has been the sole constant throughout the Eels' career, making music that's daring and emotionally revealing, sometimes sounding warm and organic, sometimes deliberately discordant and full of noisy textures, but most often rooted in a melodic sense that manages to shine through even when the arrangements turn up the static...
Grace Kelly Blues (Mark Oliver Everett) 3:37
The Sound of Fear (Mark Oliver Everett) 3:33
Daisies of the Galaxy (Mark Oliver Everet) 3:27
from Daisies of the Galaxy 2000
The Eels were always a vehicle for a songwriter called (E), but by the point of their third album, 2000's Daisies of the Galaxy, they were his and his alone. When it came time to deliver a follow-up to the intimate, tortured Electro-Shock Blues, (E) couldn't help but deliver a lighter album... For the dedicated, it's worth sifting through the album to find the keepers, since there are enough moments of quirky genius...
Although its name suggests the presence of a full band, Sparklehorse was essentially the work of singer/songwriter Mark Linkous, an alumnus of the mid-'80s indie band the Dancing Hoods. A tenure in the Johnson Family (later known as Salt Chuck Mary) followed, as did stints sweeping chimneys and painting houses. He began working as Sparklehorse in 1995, honing his spooky, lo-fi roots pop in the studio located on his farm in Bremo Bluff, VA. After a demo made its way to the offices of Capitol Records, Linkous signed to the label and issued Sparklehorse's acclaimed debut, Vivadixiesubmarinetransmissionplot...
Sparklehorse
It's a Wonderful Life (Mark Linkous) 2:59
Gold Day (Mark Linkous) 4:14
Piano Fire (Mark Linkous) 2:43
from It's A Wonderful Life 2001
...Sparklehorse wraps deep-seated, often uncomfortable emotions in layers of metaphors and static. However, the group's third album, It's a Wonderful Life, is its most open and direct work yet. Whether this has anything to do with the fact that this is reportedly singer/songwriter Mark Linkous' first substance-free work is arguable, but regardless, it's a noticeably more focused effort... It's also his most collaborative album, with co-producer and Mercury Rev alum David Fridmann adding just the right amount of warmth and weirdness and the Cardigans' Nina Persson and PJ Harvey contributing backing vocals that rival their work on Gran Turismo and Stories From the City,.. Even at its weirdest, just being alive is pretty wonderful. Needless to say, so is the album.
With a sensual, atmospheric sound inspired by Burt Bacharach and Brian Wilson as well as disco, synthesizer maestros Tomita, Jean-Michel Jarre, and Vangelis, new wave, and obscure Italian film soundtracks, Air may have been outliers in the late-'90s electronica boom, but they became one of the most influential electronic acts of the 2000s and beyond...
Electronic Performers (Jean-Benoît Dunckel / Nicolas Godin) 5:36
Radio #1 (Jean-Benoît Dunckel / Nicolas Godin) 4:22
Sex Born Poison (Jean-Benoît Dunckel / Nicolas Godin) 6:18
from 10,000 Hz Legend 2001
Eager to prove their songwriting smarts and knowledge of traditionalist pop on their sophomore work, French band Air pulled back slightly from the milky synth pop of their 1998 debut, Moon Safari. 10,000 Hz Legend is a darker work, just as contemplative and unhurried as its predecessor, but part of a gradual move from drifting, almost pastoral melancholia to a downright post-modern helplessness in league with Radiohead. Air are still tremendously effective producers, and have actually expanded their palate with a surprising array of pop instrumentation (acoustic guitars, flutes, pianos, a harmonica, harps, and many strings) to file alongside the countless trilling synthesizers and machine sequencers...
If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
Happy With What You Have to Be Happy With (Adrian Belew / King Crimson) 3:54
Eyes Wide Open (Adrian Belew / King Crimson) 4:08
Potato Pie 5:03
The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew (guitar/vocals)... This slams headlong into the thrashing title track, which is not too far removed from the angst-ridden alternative metal from the likes of Therapy?, Tool, and Rammstein. In true Belew style, he incongruously twists the subject matter into a sonically aggressive backdrop, cleverly dissecting his craft as a singer/songwriter, exemplified in the lyrics: "And when I have some words/This is the way I'll sing/Through a distortion box/To make them menacing."... This is without a doubt one of the most lyrically poignant and musically refined tunes in the King Crimson repertoire, taking its rightful place alongside tracks such as "One Time" or "Frame by Frame." Belew's vocals hang ethereally over the languid, inspired instrumentation. "Potato Pie" is a moody and dark blues containing angular chord structures as well as some symbiotic fretwork from Fripp and Belew...
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist...
Darkness (Peter Gabriel) 5:51
Sky Blue (Peter Gabriel) 6:37
I Grieve (Peter Gabriel) 7:24
from Up 2002
Ten years is a long time, especially in pop music, but waiting ten years to deliver an album is a clear sign that you're not all that interested in the pop game anyway. Such is the case with Peter Gabriel, who delivered Up in 2002, a decade after Us and four years after he announced its title. Perhaps appropriately, Up sounds like an album that was ten years in the making, revealing not just its pleasures but its intent very, very slowly... Really, there is no other choice for an artist as somber and ambitious as Gabriel to craft an album as dense as Up; those who have waited diligently for ten years would be disappointed with anything less and, frankly, they're the only audience that matters after a decade. And they're not likely to be disappointed, since this album grows stronger, revealing more with each listen. Initially, it seems to simply carry on the calmer, darker recesses of Us, but this is an uncompromising affair, which is to its advantage, since Gabriel delves deeper into darkness, grief, and meditation... But those serious fans who want to spend time with this will find that it does pay back many rewards.
Radiohead is an English alternative rock band from Abingdon, Oxfordshire, UK which formed in 1985. The band is composed of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar) and Phil Selway (drums, percussion).
2 + 2 = 5 (Radiohead) 3:19
Sail to the Moon (Radiohead) 4:18
There, There (Radiohead) 5:23
A Punchup at a Wedding (Radiohead) 4:57
from Hail to the Thief 2003
Radiohead's admittedly assumed dilemma: how to push things forward using just the right amounts of the old and the older in order to please both sides of the divide? Taking advantage of their longest running time to date, enough space is provided to quench the thirsts of resolute Bends devotees without losing the adventurous drive or experimentation that eventually got the group into hot water with many of those same listeners. Guitars churn and chime and sound like guitars more often than not; drums are more likely to be played by a human; and discernible verses are more frequently trailed by discernible choruses... At nearly an hour in length, this album doesn't unleash the terse blow delivered by its two predecessors. However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radiohead have entered a second decade of record-making with a surplus of momentum.
2003
Nincsenek megjegyzések:
Megjegyzés küldése